VOÏVOD - Killing Technology 1987

The time for cuddling is over and I'm stepping up four gears and treating you to some loud & brutal noises on this fucking Monday!! And it's not just Speed/Thrash Metal maniacs who get their money's worth. Killing Technology is the third album by Canada's four piece Voïvod, released again via Karl Walterbach's label Noise Records and it is clearly more "melody" in the seven songs. Info: After the release of the previous album Rrröööaaarrr, the tour to the album followed, which should end in Berlin to record the next studio album. Because of this, guitarist Piggy wrote the album's songs before the start of this tour. Harris Johns' work with Einstürzende Neubauten had sparked an interest in industrial music among Voïvod's musicians. During recording and mixing, bassist Blacky brought his ideas to Piggy's composed tracks. For the first time, the texts formed an overall concept for the further development of the band's character, which is about a journey through the Voïvod with a spaceship. The Voïvod stands for the inability of mankind to control the increasing mechanization of the world. Killing Technology represents an advancement of the bands skills on their instruments as well as in stylistic direction. I say this record is one of the band's best albums and when I ripped the slab, I started Pogo around my apartment like I'm at a concert, ecstatic and carefree, and this music push me away from all the daily shit that's always present.

Believe me, if you want to clear your head or have emotional differences, put this music on and you're alive for a brief moment and you know what really matters!

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SLIME - Yankees Raus 1982

March, last post and I dedicate this one to a sublime sound experience by Hamburg's most famous Punx named Slime on Aggressive Rockproduktionen. In 1981 they met Karl-Ulrich Walterbach, who signed the young band to his recently founded label and after the two samplers tracks on Soundtracks Zum Untergang, he first released the self-financed debut album and then continued to support the Five in the realization of their follow-up albums. Shortly after the release of Slime I, the band had separated from their drummer Peter "Ball" Wodok, who was unreliable due to frequent drinking. Christian brought Stephan into the band, the two had previously played with Screamer. The band itself wasn't satisfied with the recordings, because the sound was too 'thin...flat' produced, but I would say the music is still fresh and dynamic after more than forty years and Slime are definitely one of the most important combos in my life, among other things they paved the way for my current existence. And in all these years they're never been taken in by any fucking political scene. 'Alptraum', 'Gerechtigkeit', 'Demokratie' or 'Wenn Der Himmel Brennt' are still great songs and make every tired ass think. Yankees Raus is powerful, straight forward and written during the Reagan era and captures the harsh climate, gray betong canyons and morbid times of the early Eighties brilliantly, a tough part of the town. Do the POGO!

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DISASTER AREA - Die On Your Board 1986

In 1979, the later members were in the process of developing their skate skills on the concrete surfaces of the Berlin district of Märkisches Viertel, known as the ghetto. A trip to London with the Berlin Skate Club led to contacts with the punk scene. This resulted in the connection between skating and punk music for the band. In the winter of 1980/81 they began to rehearse as C&A (Chaos & Turmoil) in a boiler room. Under this name they played their first concerts with the Suurbiers (from which Die Ärzte later emerged) and die deutsche Trinkerjugend. In 1984 they were inspired by the "Loudest Band in the Universe" appearing in the series The Hitchhiker's Guide to the Galaxy and renamed themselves Disaster Area. In the same year they produced two tracks for a split single with the band Die Schlimmen Finger on the Berlin label Pogar. The debut Die On Your Board was created in just three days 1986 and after a record review in MaxiMumRocknroll, the band received more and more concert inquiries. In 1987 Disaster Area played for the first time at the skate contest in Münster, where they appeared regular since then. In 1988 the second album Back From The Reservation came out and is stylistically more influenced by hardcore punk. The song 'Skate Tonight' from the first single was also newly recorded. In 1988 Oli suffered an eardrum injury from feedback at the Skate'N'Roll Festival and left the band. Frusti became the new drummer, and Norman joined as second guitarist. In 1989 they took part in the Berlin Senat Rock Competition and made it to the finals.

In 1990, the third album Cut The Line came through Bonzen Records and the Ox wrote at the time: “Germany's Skate Punk Band No.1". This was followed by a tour with the Badtown Boys and a live album, recorded at SO36 in Berlin. Norman switched from guitar to snowboard and Domi became the new guitarist. Shred Ready is the band's fourth album and for the first time, metal borrowings were clearly heard in the music. The guitarist received a postcard from Marty Friedman of Megadeth with the words: “It Rocks! The fun of the Ramones with cool lead guitar, too. Keep up the good work! ". In 1994 Disaster Area played as the opening act for The Offspring and in December the same year made a ten-day tour through ten Berlin concert halls to mark its tenth anniversary. In 1996 Domi switched to the metal band Orth and Disaster Area continued as four piece. The new songs became much more melodic and the Powder EP was released the same year. The next album Slam Section was released in 1998 on the metal label Noise Records by Karl Walterbach. At the end of a tour with CIA (Ex-Slime) and several concerts with Millencolin followed. In 1999 Tom, who had previously played in Mr. Ed Jumps The Gun joined the band. Tom already knew Disaster Area back in 1984. He had played guitar on the split single for Die Schlimmen Finger. A tour with California punx The Line followed and for the 20th anniversary of the band the last album Forever was released.

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NEUROTIC ARSEHOLES - ...Bis Zum Bitteren Ende 1983

Now to an important band that always inspires me and whose music is way ahead of other bands even after so many years. The music of the Neurotic Arseholes offers predominantly melodic punk with frequent changes in tempo, routine breaks, harmonious guitar solos and the varied mix of styles prove the high musical quality of the talented four. The predominantly subtle political texts are partly German, partly English. The band was founded 1979 in Minden by bassist "Zahni" and guitarist "Kurt", who were inspired by John Peel's program Rock Today. The two had already released a punk fanzine in their home area. In 1980 singer Dierk (“Zombie”) and drummer “Der Kurze” joined the founders (Der Kurze got his pseudonym because he was fourteen years old when he joined the band, and thus about four years younger than his bandmates) and their first appearance took place 1981 in a youth center in Minden. Also in 1981, the quartet received a record contract with Karl-Ulrich Walterbach's label Aggressive Rockproduktionen, whereupon three pieces were recorded in Berlin in one day and published on the essential album Soundtracks Zum Untergang 2. A year later three tracks followed on the Underground Hits compilation and in 1983 the band's first LP, ...Bis Zum Bitteren Ende, was finally released. However, after the album production the collaboration between the band and Walterbach ended, as his label, now Noise International, began to concentrate on the production of metal bands in the mid 80s.

In 1984 they therefore switched to the Hamburg label Weird System, which initially released two new tracks on the brilliant Keine Experimente! Vol.II record before the second album Angst comes in 1985. Despite enthusiastic reviews, there were differences within the band, which therefore decided to break up and gave their official farewell concert on January 25, 1986 in the AJZ Bielefeld. Only for this occasion the Paradise EP (200 copies) was produced and released via Weird System and only sold that evening.

In 1986 the third and final slab Live... All' Die Jahre came out with recordings from the band's last concerts. Individual tracks were also re-released on other samplers of the label. After the split, the members went different ways, Der Kurze founded the band The Brides with guitarist "Kurt", but they never achieved professionalism, so the project was abandoned and Shorty hired himself out as a drummer in dance music bands. Only bass player Zahni, who recently played with the Drowning Roses, achieved a certain level of reputation with this band and was part of the opening act for NOFX on a USA tour.

In 1989 the four reformed and a smaller tour which was simply titled "Just For Fun Tour" was the result that delighted many fans, including myself. During the tour, the Just Do It For Fun EP was distributed with older unreleased recordings. The busy fanzine maker Karl-Heinz Stille took care of the production of the single, the idea for this record: it's a small gratitude from them to everyone who has stood by themselves and know who they are! - Karl-Ulrich Walterbach released a new edition of the debut LP in 1989 without paying royalties to the band, this led to a lengthy legal battle between the four and Walterbach. Then it became quiet around the Arseholes. In 1998 they surprisingly returned with the Melancholia EP and a smaller tour across Germany.

Important, a bloody must have and buy immediately!!!

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ABM - Maßlos Übertrieben 12'' 1982

Berlin-based Punk/Wave Act with sole release on Neue Zeiten, only 500 copies were pressed; produced by Aggressive Rock/Noise owner Karl Walterbach. The consisted of Brunella (vocals/bass), Michael (guitar/vocals), Angelo (saxophone/synthesizer/guitar) and Hei (drums) and maybe you enjoyed their title song from my selfmade compilation Killed By Sunshine, if not, change that immediately. ABM make solid music and their four pieces are not earth-shattering and luckily the saxophone is not used strenuously. The a-side is more the punk side while the flip is more wavie stuff. Good record, more is not necessary.

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DIE SEUCHE - s/t LP 1990

Time for Die Seuche and they released two records in the 90s via Karl Walterbach's AGR label and I think the last Punk ones. After that, as far as I know, only German metal bands come out on his new label Noise International because he prefers this genre and AGR became history. You can hear this on this album: excellent lyrics, catchy powerful metalpunk sound: Die Seuche!! A short bio in their own words: In the winter of 1984/85 Mannsteinstraße in Berlin-Schöneberg is haunted by a loud and contagious epidemic. It penetrates into the brain via the hearing and settles there. A humid cold attic serves the 5 Urviren (Tom, Frank, Jens, Mark and Ludger) as a breeding ground for the further spread. At the end of 1986, this "New Plague" was briefly dammed up and then spread out over the borders of Berlin with a new occupation as "The Plague" in 1987. They are followed by highly contagious concerts and tours across Germany. Three contaminated phonograms are released and the neighboring countries are infected. Since 1993, Die Seuche has been confined, but not eradicated. Individual components are still active... - In the same year, a mini-album followed 'Pächter Des Wahnsinns' with four new and five live goodies. A solid debut.

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TARGETS - Schneller, Lauter, Härter EP 1984

One more superb German Punk I like a lot and I regret to sold this awesome EP many years ago. So if anyone wanna sell this record I'm the right man, of course at a reasonable price, please leave me a message in the comment section for fair offers. Targets were founded ca. 1984 after the dissolution of the best German political punk band Slime in Hamburg by Eddie (bass), Elf (vox & guitars) and Stéphane from the Buttocks (drums). Targets stand for aggressive punk with brilliant offensive lyrics and anyone who knows their full length album can imagine how great they are live (I was lucky to see Slime in HH anno 1990 in Altona/Fabrik: awesome!!). Hamburg had a very active scene + many cool bands released lots of classics and the list is endless. Schneller, Lauter, Härter was released on Karl Walterbach's AGR label and their second 'Menschenjagd' in the same year. 1985 they went to Berlin again and recorded their fantastic album Massenhysterie. Shortly after, the band broke up. What remains are three brilliant records which should have a place in every well-stocked record collection.

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BETON COMBO - Perfektion Ist Sache Der Götter 1981

Another German classic record from AGR is the debut of Berlin's Beton Combo and I'm angry because this fantastic platte I have sold due lack of money, GRRRR. Well, life sometimes doesn't ask for it so with some mp3s have to keep it. Beton Combo was a punk band from the surroundings of the club KZ36 in West Berlin: Heske (vox), Frank (guitars), 3528 (drums), Roger (guitars) and Shake (bass). Heske was involved in the organization of the KZ36 together with Karl-Ulrich Walterbach and Walterbach started a short time later with AGR one of the biggest punk labels of Germany and releaesd the only album in 1981. There followed one mini album and one EP and a few compilation songs before the group dissolved in 1986. On this record are twelve offensive, aggressive wild punkies.

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SYSTEM! - s/t LP 1982

A short-lived band from Berlin were System! and they existed from 1979-1982 and have only one record released on People's Records in 1982. Various compilations contributions, worth mentioning the Licht & Schatten album with two pieces were their first offer in the punk world. Here, we get nine pieces of solid punk rock, musically & lyrically in the major league, melodic and aggressive as I like it. In my opinion quite underrated band at this time and I think they deserve more attention. Why don't Karl Walterbach from AGR ask them to made more with the band remains a mystery. No matter, nowadays a classic and highly sought-plate that is be traded on any record fair to high prices.

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CANAL TERROR - Zu Spät 1983

Next classic German Punk album is the debut record from Canal Terror and I don't know how many times I played this LP up and down: angry, aggressive, rebellious music which has nothin' lost of their rudeness. Founded 1980 in Bonn by Tommy, Volker and Dominik, 15 to 17 years old, in the following year 14-year-old drummer Rainer completed the band. 1981 published the first demo recordings and a Super-8 film on which they introduced for the first time their most popular song 'Staatsfeind'. In December, the band participated on the compilation Soundtracks Zum Untergang 2 (AGR). Canal Terror played this year their first concerts outside of Cologne and Bonn with Black Flag, Minutemen, Slime, OHL, etc... More demo tapes were released in the following two years. In December 1982 they recorded their debut LP, appeared due to differences with label boss Karl-Ulrich Walterbach, in the spring of 1983. Tommy left the band in 1983 after internal disputes and Rainer moved to the micro. Ex-Toxoplasma bassist Stefan came as a drummer. Frank Glienke ("KutA") was for a few concerts the second guitarist but left the band very soon. The group toured again with Razzia, Inferno, Neurotic Arseholes, Boskops, Die Ärzte, etc... and the recordings for the compilation Underground Hits 2 emerged. Again it come to quarrels and Dominik and then Volker left the band. The band continued until 1984 by Rainer and Stefan and with other members. On the Dutch sampler 'Babylon Bleibt Fahren' the song "Staatsfeind" was in a live version on it and shortly after this release the band split up for good. In December 1991 the band played in the original line-up a unique concert in the Biscuithalle/Bonn, together with Toxoplasma, Die Skeptiker and the British band Urge. In 1992 Red Rossetten Records released a CD with recordings of this gig under the title "Live In Bonn". AGR reissued without the permission of the band their first album in the 90's and so Canal Terror secured in a trial against AGR the rights to their songs. A Review: "Canal Terror produce diverse hardcore material on their debut album, including full-tilt thrash ("Multis," the title cut, etc.), Oi!-influenced stuff ("Bonn-Duell"), '77 punk with melodic guitars ("100 Mann"), reggae-punk mixtures ("Mallorca"), some cool Rock'N'Roll ("Hey"), and even a funnypunk version of "My Bonnie." The guitars should have been emphasized more in the mix, but this record is still entertaining as hell." - Jeff Bale (from MMR #8, September 1983) / That's the story so far, for me another major record which is second to none today.

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